{"id":4581,"date":"2024-05-23T00:00:40","date_gmt":"2024-05-23T00:00:40","guid":{"rendered":"https:\/\/www.lorenamal.com\/?post_type=portfolio&p=4581"},"modified":"2026-01-19T14:06:46","modified_gmt":"2026-01-19T14:06:46","slug":"arboles-genealogicos","status":"publish","type":"portfolio","link":"https:\/\/www.lorenamal.com\/eng\/portfolio\/arboles-genealogicos\/","title":{"rendered":"Family trees"},"content":{"rendered":"
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Family trees <\/i><\/b>es una serie de dibujo y montajes a muro que exploran relaciones entre un lugar y formas de memoria.\u00a0 El dibujo esta basado en\u00a0muestras de\u00a0<\/span>diferentes especies de \u00e1rboles <\/span>resguardados en archivos bot\u00e1nicos, en donde los\u00a0<\/span>cortes transversales de\u00a0<\/span>la madera provocan que la geometr\u00eda radial del anillo del \u00e1rbol pase a verse m\u00e1s ‘l\u00edquida’, sugiriendo formaciones que asemejan vistas topogr\u00e1ficas o el ‘escurrimiento’ de su propio registro del tiempo y el entorno. El dibujo calado sobre madera genera huecos a trav\u00e9s de los cuales se entreven im\u00e1genes de fondo -registros fotogr\u00e1ficos o materiales espec\u00edficos de los lugares-,<\/span> buscando contraponer lecturas entre sitio, historia y vidas <\/span>m\u00e1s extensas que la humana que permitan cruzar y conectar generaciones<\/span>.<\/span><\/p>

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Con el apoyo en investigaci\u00f3n de la Dra. Alejandra Quintanar, coordinadora del Laboratorio de Tecnolog\u00eda de la Madera de la UAM Xochimilco, de la Xiloteca de la UAM y del Instituto de Biolog\u00eda de la UNAM.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Museo Regional de Guanajuato Alhondiga de Granaditas, Guanajuato, MX<\/span><\/h6>
2024<\/h6>
Direcci\u00f3n art\u00edstica por Mariana Mungu\u00eda<\/h6>
Curadur\u00eda por Pamela Desjardins y Christian G\u00f3mez<\/h6>
Curadur\u00eda de sitio Isis Yepez<\/h6>
Curadur\u00eda asociada Eugenia Braniff<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Texto por Pamela Desjardins<\/span><\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Bajo el entendimiento del paisaje y la tierra como archivo, este proyecto apela a la memoria que guardan los materiales y los lugares por s\u00ed mismos, as\u00ed como a las huellas que quedan en ellos al habitarlos y manipularlos. En su conjunto, las piezas retoman la historia del recinto de la Alh\u00f3ndiga \u2013originalmente concebido para el almacenamiento de semillas\u2013 que hoy resguarda objetos de la regi\u00f3n, como la alfarer\u00eda chup\u00edcuara. Las arcillas utilizadas por la cultura chup\u00edcuara provienen de diversas zonas del estado de Guanajuato, al igual que las que cubren los muros de la sala, las cuales fueron recolectadas por la artista en colaboraci\u00f3n con investigadores del Laboratorio Nacional de Ciencias para la investigaci\u00f3n y Conservaci\u00f3n del Patrimonio Cultural (LANCIC). Al fondo, el mural de madera basado en anillos de \u00e1rboles del Baj\u00edo, como el cedro blanco, el oyamel, el naranjillo, el ciruelo, el encino y el capulincillo, as\u00ed como la escultura de un tronco en putrefacci\u00f3n, aluden al paso del tiempo y a los ciclos de la vida.<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00c1rboles geneal\u00f3gicos (Bajio)<\/strong><\/em><\/h6>
2024<\/h6>
Dibujo calado sobre madera (frente) y arcillas de Chup\u00edcuaro, Ac\u00e1mbaro, Puruaguita, San Jos\u00e9 Rinc\u00f3n, Las Tinajas, Cerro del Toro, Jer\u00e9cuaro, La Pur\u00edsima, Tarandacuao, Ca\u00f1itas, Dolores, San Anton de las Minas, Santa Rosa de Lima, Los Mexicanos, y Valenciana, (fondo)<\/h6>
360x360cm (frente) 366x378cm (fondo)<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Witness Trees<\/h1>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Smith Gallery, Davidson NC, EUA<\/h6>
2022<\/h6>
Curated by Lia Newman<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Text by Violeta Burckhardt<\/span><\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The exhibition Witness trees <\/i>is part of the evolutionary process of Lorena Mal\u2019s explorations of landscape as common ground\u2014a way of bringing diverse people, places, and time scales together. This grounding<\/i>, site-specific approach understands nature as a cultural construct and the territorial boundaries that define it as an ungraspable threshold in the face of deep time. It recognizes landscape as a perspective through which geopolitical manifestations of space can be reconfigured\u2014a modality for the reinterpretation of history based on the selection, or subtraction, of information through a collective process. By focusing on the wandering history of the Magnolia grandiflora <\/i>as her subject, the artist weaves human and non-human survival stories through the voices of plants and the ecologies that have resulted from their displacement. By reimagining trees as subjects, Mal develops new tools to understand preservation as a radical form of transformation that understands nature as a decentralized and non-anthropocentric concept.\u00a0<\/span><\/h6>
As we enter the gallery space, we feel the weight of the soft but sharp ochre color emanating from the walls behind us, forcing us to look back. The natural clay hue locks our senses \u2014a small gesture toward recognizing the importance of history in\u00a0constructing the present. The color was extracted from Cecil soil, a mixture of clay, sand, and ferric oxide found across the Magnolia grandiflora <\/i>\u2019s North American territory and habitat, and in particular, in Davidson, North Carolina, where the exhibition takes place. Born out of the weathering or oxidation of pigment, the ochre color on the walls captures life as a chemical process, linking it to our bodies through the oxygen that we also carry within our flesh.\u00a0<\/span><\/h6>
Before us lies a book. Psalmodia Naturalis (in x\u00f3chitl, in cu\u00edcatl)<\/i>, 2020-2022, rests open on top of a pedestal made from rammed earth, a mixture of local Cecil, as well as Mexican soil brought by Mal from her own home. By mixing the two soils, Mal strengthens the structure of the foundation, while acknowledging the ground as common. As an architectural and vernacular technique found across the globe, rammed earth functions as a symbol of sustainable building practices and embodied energy in mineral form. Few Cecil soils that we now encounter can be found in a virgin state. Earth, like the biotic and abiotic elements that compose it, is part of a complex and shifting mixture of land and a direct result of a mosaic and cultivated culture.\u00a0\u00a0<\/span><\/h6>
Spread between the pages of Mal\u2019s book, Psalmodia Naturalis (in x\u00f3chitl, in cu\u00edcatl)<\/i>\u2019s, pressed magnolia flowers surface from side to side. This majestic evergreen tree, growing over 30 meters tall, has become a ubiquitous component of gardens across a range of geographies worldwide. Though commonly regarded as native to the North American continent, its roots run deep, within a network that now extends its origin. Fossil records show that magnolias once grew in the wild as far away as Asia 100 million years ago, yet the oldest western recording is found in mesoamerican history, through illustrations of the now extremely rare Magnolia dealbata en el C\u00f3dice De la Cruz-Badiano o Libellus de Medicualibus Indoorum Herbis<\/i>. With Mal\u2019s new work Psalmodia Naturalis (in x\u00f3chitl, in cu\u00edcatl)<\/i>, Mal uses a historical archive, the Psalmodia Christiana <\/i>(1558\u20131583), where the magnolia was first recorded, as a way of unearthing pre-colonial narratives of place. Brought to life as a way of bridging ancestral and colonialist visions of landscape, this book marks an important turning point in Mexican history\u2014the moment when tradition was able to survive through the entanglement of different perspectives, images, and language forms. This combination of meaning and cultural systems, also known as syncretism, allowed pre-Hispanic tradition to survive in composite form.\u00a0<\/span><\/h6>
Psalmodia Christiana<\/i>, no longer found in its place of origin, has a migration history of its own. Now, privately owned and located in the John Carter Brown Library in Providence, Rhode Island, the Psalmodia Christiana <\/i>is part of a growing archive of rare books, manuscripts, and illustrations that mark the history of exploration and colonization of the \u201cNew World.\u201d Now fully digitalized and accessible online, the contents of the library are part of an interconnected community where knowledge, though locally conceived, is given the chance to live a second life through the evolution of a society that understands itself as a planetary whole. As Mal delves into the content of this book of psalms, a new landscape unravels as certain species of plants surface, page after page\u2014as relics of a live but hidden past. Through language, rhythm, and repetition, Mal paints a new image of landscape as a space for critical reflection and polyphonic lyre.\u00a0<\/span><\/h6>
Mal uses botany as a geopolitical narrative device to link indigenous thought with western scientific tradition. Written within the premises of the colonial convent of Tlatelolco, the long-forgotten Psal<\/i>modia Christiana<\/i>, originally envisioned as a book of psalms, is transformed by the artist through a process of exhumation. By reproducing her own version of this text, Mal excavates new narratives through omission, a technique that characterizes a larger body of work, and a common denominator in her research. Like reverse archeology, the artist constructs a new image by acknowledging the potential of withdrawal as a tool for emergence. The book, a map of sorts, describes the territory through a cosmology of mixture and an example of the potential of hybrid forms of history and storytelling as a way of being in and with the world. Psalmodia Naturalis <\/i>is an act of preservation through transmutation that understands landscape as a universal and timeless language.\u00a0<\/span><\/h6>
Mal\u2019s Family Trees (America: Magnolia) <\/i>consist of a series of tree ring images carved directly on top of and into red oak wood panels. The lines, based on samples included in the American Woods Archive by Romeyn Beck Hough (1857-1921), offer a dendrochronological display of the life of Magnolias, creating a topography of their own. Similar to a map, these lines follow a path of infinite repetition. These patterns contextualize the timeline hidden behind its veil as a symbol of life and continuity. Almost invisible, Mal\u2019s large-scale photographs act as a backdrop to these carved tree ring surfaces. One image is that of a tree found in the garden of her close friend Felipe in Mexico\u2014a tree that his family has taken care of for generations and under which lie the ashes of his grandparents. The second image depicts another magnolia tree from the nearby Latta Plantation Nature Preserve and former slave plantation. Both images epitomize archives of the past, living markers that link territories through montage.\u00a0<\/span><\/h6>
Witness Trees <\/i>understands history as fluid and considers song and breath as not limited to humans\u2014a metaphysical element through which the world communicates back to us. The magnolia\u2019s pressed leaves that lay hidden between the reproduction of an ancient pre-columbine text, the rammed earth of the pedestal on which it stands, the warm ochre color on the walls, and the images of magnolia trees hidden by the interrupted carved line drawings of the woody plants are all part of the same narrative, earthly compounds that through mixture can radically transform the world. The exhibition is the result of an immersive process that recognizes marginalized knowledge as fundamentally deconstructed and nature as a universal, politically laden, and unifying force. By understanding the spectator as a geologic and living matter, Lorena Mal offers a stage to contemplate the landscape through active spectatorship and the\u00a0<\/span><\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00c1rboles geneal\u00f3gicos (Am\u00e9rica: Magnolia)<\/strong><\/em><\/h6>
2022<\/h6>
Dibujo calado sobre madera (frente) y fotograf\u00eda del lugar de entierro de personas esclavizadas en la Plantaci\u00f3n Latta Reserva Natural, Carolina del Norte (fondo)<\/h6>
244 x122 cm (frente) 343 x 365 cm (fondo)<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00c1rboles geneal\u00f3gicos (Am\u00e9rica: Magnolia)<\/strong><\/em><\/h6>
2022<\/h6>
Dibujo calado sobre madera (frente) y fotograf\u00eda mural del lugar de entierro de los abuelos de Felipe, casa de Coyoac\u00e1n en Ciudad de M\u00e9xico (fondo)<\/h6>
244 x122 cm (frente) 243 x 91.44 cm (fondo)<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Presencia L\u00facida<\/h1>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Espacio de Arte Contempor\u00e1neo (ESPAC), Ciudad de M\u00e9xico, MX<\/span><\/h6>
2019<\/h6>
Curadur\u00eda por Ana Torres Valle Pons<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Texto por Ana Torres Valle Pons<\/span><\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Este proyecto consisti\u00f3 en un experimento curatorial, art\u00edstico y pedag\u00f3gico que re\u00fane piezas de la Colecci\u00f3n ESPAC y proyectos de seis artistas invitadas \u2014Paola de Anda, Christian Camacho, Sara Garc\u00eda, Almudena Lobera, Lorena Mal y Tania Solomonoff\u2014, cuyas obras tienden a la transformaci\u00f3n, a desenvolverse a trav\u00e9s del tiempo y a hablarnos sobre lo invisible, aquello que se queda en la punta de la lengua.<\/span><\/h6>
En Presencia l\u00facida se indagaron temas sobre las relaciones entre el habitar, las convenciones del espacio expositivo, la hospitalidad y la colaboraci\u00f3n. El planteamiento curatorial y el programa de aprendizaje exploraron la exposici\u00f3n como una duraci\u00f3n, una construcci\u00f3n constantemente reescrita y transformada con manifestaciones como la danza, el performance y el videoarte, adem\u00e1s de experimentar con pr\u00e1cticas art\u00edsticas no visuales que buscaron apelar a otros sentidos y a experiencias corp\u00f3reas intraducibles.<\/h6>
El proyecto fue tambi\u00e9n un jard\u00edn. En contraposici\u00f3n a la destrucci\u00f3n sistem\u00e1tica del medio ambiente que acompa\u00f1a al desarrollo urbano, el espacio se transform\u00f3 en un lugar con plantas medicinales y un huerto, as\u00ed como espacios para el descanso e interacci\u00f3n. Este es un gesto que crea una burbuja, un espacio de excepci\u00f3n para ejercer el cuidado y el encuentro con la vida en tiempos de destrucci\u00f3n. Un par\u00e9ntesis para habitar la esperanza y cultivar nuestro regocijo.<\/h6>
A partir del programa pedag\u00f3gico y una serie de actividades p\u00fablicas, Presencia l\u00facida concibi\u00f3 la exhibici\u00f3n como un lugar de encuentro que posibilita la conversaci\u00f3n y formas colectivas de construcci\u00f3n de la memoria.<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00c1rboles geneal\u00f3gicos (Jard\u00edn)<\/strong><\/em><\/h6>
2019<\/h6>
Dibujo calado sobre papel (frente) y fotograf\u00eda del bioma de selva de lluvia controlado para el estudio de cambio clim\u00e1tico en Biosphere2, Arizona (fondo)<\/h6>
80 x 60 cm (frente) 80 x 60 cm (fondo)<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Publicaciones<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"\"<\/div><\/a>

La voz de la monta\u00f1a<\/a><\/h3>

Consultar<\/span><\/span><\/a><\/div> \n <\/div>\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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\"\"<\/div><\/a>

Witness Trees<\/a><\/h3>

Consultar<\/span><\/span><\/a><\/div> \n <\/div>\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Exhibici\u00f3n reciente: Museo Regional Alhondiga de Granaditas – XV Bienal Femsa, 2024<\/p>","protected":false},"author":1,"featured_media":4785,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"portfolio_category":[50,56,35],"portfolio_tag":[68],"class_list":["post-4581","portfolio","type-portfolio","status-publish","has-post-thumbnail","hentry","portfolio_category-dibujo","portfolio_category-fotografia","portfolio_category-recientes","portfolio_tag-obra"],"_links":{"self":[{"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/portfolio\/4581","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/portfolio"}],"about":[{"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/types\/portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/comments?post=4581"}],"version-history":[{"count":54,"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/portfolio\/4581\/revisions"}],"predecessor-version":[{"id":7226,"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/portfolio\/4581\/revisions\/7226"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/media\/4785"}],"wp:attachment":[{"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/media?parent=4581"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/portfolio_category?post=4581"},{"taxonomy":"portfolio_tag","embeddable":true,"href":"https:\/\/www.lorenamal.com\/eng\/wp-json\/wp\/v2\/portfolio_tag?post=4581"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}